CAIRO - For the second time, we were fortunate to enjoy a major work of Richard Wagner (1883-1813) in the Cairo Opera House's Small Hall, screened live from the Metropolitan Opera in New York. This time, we got to watch Die Walkure or Die Walküre (The Valkyrie), WWV 86B, the second of the four operas that form the cycle Der Ring des Nibelungen (The Ring of the Nibelung). Die Walküre's best-known excerpt is the ‘Ride of the Valkyries'. Die Walküre premiered at the National Theatre Munich on June 26, 1870, at the insistence of King Ludwig II of Bavaria. It then premiered in Wagner's Bayreuth Festival as part of the complete cycle on August 14, 1876. The opera made its United States premiere at the Academy of Music in New York on April 2, 1877. This opera consists of three acts that revolve around the young warrior Siegmund, who takes shelter from the fighting and a fierce storm. By chance, he's landed in the abode of his long-lost sister Sieglinde. Sieglinde's husband, Hunding, returns home and strongly objects to Siegmund's presence. He agrees that he can at least shelter the night, but he must later fight him to the death. The second act is set on a rocky ridge in the mountains. Wotan, creator of the sword and 'father' of Siegmund and Sieglinde, is counselled by his wife not to allow the incestuous relationship of Siegmund and Sieglinde to continue. Only reluctantly does Wotan agree to this. He tells his favourite daughter/warrior (Vaulkyrie) Brunnhilde to ensure that Siegmund dies. The third act tells of the famous ‘Ride of the Valkyries', as Brunnhilde and her sisters gather on a mountaintop. Shortly after, Wotan arrives and he is extremely angry. The other Valkyries flee the area and the rest of the act revolves around the dialogue between Wotan and his daughter. Brunnhilde is to be stripped of her divinity and is to be put to sleep surrounded by a wall of fire. Only a hero bold enough to venture through the flames to claim her can awake her. The five-hour performance was great. It was produced by Canadian artist Robert Lepage, who has produced several marvellous works with the help of set and décor designer Carl Fillion under the direction of associate director Nelson Vignola, with lighting by François St-Aubin. The conductor was James Lavine. They were able to present a carbon copy of the original epic, but in a contemporary way in terms of setting and décor. Even the costumes were untraditional. The dress designed for the heroine of the opera looked like a robe, while the Warrior's fairy attire was apparently made of pieces of iron and steel. The voices of the performers, especially Bryn Terfel (Wotan) and Hans-Peter Konig (the villainous Hunding) sounded like musical instruments, in harmony with the orchestra. Eva Maria Westbroek (Seiglinde), the German tenor Jonas Kauffman and mezzo soprano Stephanie Blythe also put in strong performances. The whole cast ��" the six heroes of the work and the eight fairies (sopranos, mezzos and soprano altos) ��" were wonderful. Maestro James Lavine, who, in this concert, was celebrating his 40th anniversary as conductor of Metropolitan Orchestra, should be thanked for this wonderful performance. The performance recalled Wagner's balanced music and his remarkable usage of string and wind instruments, of which there were more than 20 players in the orchestra. The conductor skilfully communicated Wagner's style, especially when he prepared us for the windstorms to come in Act One, with a wonderful and collective performance of wind and string instruments. Lavine brilliantly introduced Act Three, whose music is very well known and has been used in many films. The Maestro's control of his orchestra and their performance in the sleeping scene of the fairy warrior, in preparation for Siegmund rescuing her, was stunning. All in one the performance was amazing and should encourage us to present our own Egyptian operas in a new, more modern way. [email protected]
